CLUEDO! The Interactive Game is the most fun you’ll have outside a theatre until Anywhere Festival takes over all the unlikely performance spaces in Brisbane and across the Sunshine Coast (May 9 – 26). Since its humble beginnings during the 2017 Anywhere Festival, with just two performances on board the Kookaburra Queen, the award winning interactive game / show CLUEDO has continued to attract capacity audiences, and also serves as an attractive corporate option, by special arrangement.

This Baedeker Wine Bar season is Brisbane Immersive Ensemble’s third, returning to delight audiences who come to collect clues and assist the iconic board game characters to solve a murder mystery by the end of the night. Ultimately, we don’t actually care who it was, or with what, or where; but others do and either way, the fun is in the chase. We follow our favourite suspects curiously, to see how well they hold up under interrogation. And by that I mean, who here has the sustained focus, and the rather unique skill set required for the successful navigation and manipulation of this style of entertainment and its audience? Not only that, do these performers have the energy and ability to genuinely connect with their audience in this close-up context? No pressure.

CLUEDO is undoubtedly Brisbane’s best improvised immersive dinner theatre experience, encouraging dress ups, dancing and mingling – as much or as little as we like – as we hear from characters made famous by the classic board game (1949) and the film it inspired, starring Tim Curry, Madeleine Kahn, Eileen Brennan, Christopher Lloyd, Colleen Camp and Lesley Ann Warren (1985). A cast of thousands appears to be on hand for each season of the live show, and testament to the nature of the production and this far-reaching yet tight-knit ensemble, a number of past and present players attend on opening night just for fun, including Chris Kellett, Jonathan Hickey, Aurelie Roque (on alternate nights playing Madame Peacock), and Damien Campagnolo (credited with a variety of roles).

The current season sees the debonaire Colin Smith (Kelly, Nearer the Gods, An Octoroon), step into the role of Dr Black, perfectly suiting both the suave attire and high society demeanour as the host of a 1930s style cocktail party in the beautiful Baedeker building.

The stock characters are variously informed by the experience and confidence of the performers. Most notably, Madame Peacock (Elizabeth Best) and Reverend Green (Tristan Teller) hold their own no matter what’s thrown at them by the punters. Best struts and postures, relishing the bold and brash Americanisms and eroticisms of the role, as well as the effect on guests of her towering headpiece. (Standing at almost 6ft tall even without this plumage, for Roque to don it on alternate nights must make her Madame Peacock the most imposing character of the night and possibly, with the exception of Joanne in RENT, of Roque’s repertoire to date). Best’s version of Madame Peacock has a sense of the Unsinkable Molly Brown about her, and she won’t be beaten. Likewise, Reverend Green has all the answers and when for an instant he almost appears not to, he conveniently and appropriately passes the buck to God. And in a neat casting trick of the Gods, we think that Teller, surely the most accomplished performer here, having previously been cast opposite Tom Hiddelston and Eddie Redmayne, and with a list of special skills too long to mention (I resist including his CV), could actually be Jude Law’s long lost brother, such is his precise and very lovely vocal work, distinct look, and with a devilish glint behind them, his distinct looks. For a man of the cloth, the shifts between pious and wicked are too deliciously easy, and if he can be kept in Brisbane, we can look forward to Teller’s next captivating performance, in a mainstage production, or a commissioned festival piece, or in a staged reading, just of some memes or something somewhere. Or just sitting, reading, silently. Or drinking coffee, or anything, actually. Seriously. Someone. Anyone. Give him work. Make him stay.

Professor Plum (Joel O’Brien) and Colonel Mustard (Zane C Webber) provide wonderful contrasts in their statures, mannerisms and banter, leaving Mrs White (Jessica Kate Ryan) and Miss Scarlett the least memorable guests on the list. Ordinarily, the latter role is in the hands of Geena Schwartz, however; due to unforeseen circumstances, was filled at the last minute by Director, Xanthe Jones. In her ill-fitting red satin, designed and made for Schwartz (and we love Kaylee Gannaway’s designs – remember, I own one – everything else here is perfection), the stand-in Miss Scarlet’s simpering, and her protestations to the accusations made against her, lack light and shade, and Jones misses many opportunities to keep us engaged with her story, however; there are others who remain entranced with her from start to finish. Perhaps they knew she had thrown herself into the mix, or perhaps they are granted eye contact, which we are not. She only looks up in passing to compliment me on my stole, which I would love to tell you is faux fur but it’s properly vintage so… Mrs White, a character informed neither by Madeleine Kahn nor Colleen Camp in this case, is not attuned to the offers from her fellow performers, and despite her efforts to cut through the noise of the crowd or the quiet intensity of a scene, Ryan fails to make an impact as Dr Black’s German hausfrau. However, had we seen her in a scene rather than in between scenes, we might gain a more complete picture of both the character and the actor. More on this later.

Patrick Aitken gallantly strides in to save the day – or at least, to facilitate and wrap up the investigation of the crime committed while we had enjoyed jazz and booze in the ballroom, driving a challenging scene that amounts to wrangling cats since most of the guests are by this time happily holding their third or fourth glass of wine. He is assisted by prettily named detectives, Carmine, Periwinkle, Dove, Moss, Cobalt and Honey (James Elliot, Johanna Lyon, Julia Pendrith, Tom Harris, Patrick Shearer and Matthew Butler).

Genevieve Tree and Samuel Valentine sing up a merry storm with the band led by MD Jye Burton (I would name the talented musicians if they were credited). This aspect of the evening is so enjoyable that if solving the crime doesn’t interest you, you’ll have a decent night out just sitting and listening, or dancing to the band! All the players can carry a tune and when I mention my surprise to Chris Kellett, because here we are with the Immersive Ensemble and not Oscar Production Company, he laughs and tells me, “Yes, it’s what we do!”.

Written by Xanthe Jones and directed by Jones and Ben Lynskey, CLUEDO makes the most of the superb Heritage listed space in which its staged. It relies on clearly drawn characters and mostly audible instructions to move punters through a range of interesting rooms, and a story full of intrigue and action, but therein lies the challenge. The construct itself is problematic, allowing us so much freedom during the evening that we miss vital scenes. Is it enough to get a version of events from other guests? I would like to have seen more for myself, particularly from Mrs White, and Miss Scarlett. Perhaps their scenes are more engaging than those moments in-between. A solution might lie in a ‘menu’ of appointments, a card in the style of the original game if you like, or iPads – so good for the company’s socials and data collection too but then, how would one hold one’s drink? – distributed to guests upon arrival to ensure they know where to be and when to be there, in order to witness each conversation or altercation in turn. Ensuring that everyone is an eye witness to everything will invariably lead to more efficient and more relevant lines of questioning. Some of the questions! Be patient with your friends, friends! Also, another point of conversation and certainly a more glamorous offer, befitting of the surrounds and the style of the party, would be a generous grazing table in the dining room, rather than the plates of food currently available, which you won’t feel the need to photograph. Anyway, after running such an event for two seasons, I know that I would start to want more control of the crowd (think of the Divergent trilogy; Poppy is obsessed with it!), but such solutions are less obvious from the inside. And drugs are bad.

Despite a sense of chaos during the time allowed for questioning suspects, and a few loose ends here and there, what makes this immersive and quite sumptuous version of the much loved CLUEDO a winner is its perfect location and its cast, and their genuine interactions with members of the audience. If you’re prepared to interact, it can be a very personal theatrical experience, as if what you imagine to be true will make all the difference to the outcome! You might not feel quite as satisfied at any other show after this one, or quite as willing to sit still in the audience and stay mute. Go with a group and work together in a team or go rogue like we did, and investigate from the fringes to solve CLUEDO’s mystery – or not – and have a swellegant, elegant time of it.

THE POLAR OPPOSITE OF CAROLS BY CANDLELIGHT

Alex Woodward’sUnderstudy Productions returned to Brisbane Powerhouse for the holiday season with the naughtiest Christmas cabaret show in the city. It really should have run for another week. It’s the return of A Very Naughty Christmas and it’s only missing Miss Libby Hendrie, the gorgeous blonde triple threat in all of the marketing collateral. Other than that, there’s not a single disappointment; it’s perfectly designed to become a (strictly adults only) Brisbane Christmas Tradition.

Apparently, The Second Coming is nothing like last year’s production. But I missed seeing it, so from what I can gather it’s either lacking its original raw, really naughty edge, or it’s even more titillating and entertaining than before! We’re going to assume that the latter is the more common response because box office records. Also, Woodward is one of our excellent new producers who learns from each experience rather than giving up, packing up and moving on to another, bigger, brighter city. The lights are getting brighter in Brisbane and it’s largely because the indies, like Understudy, persist and survive – very well it seems – alongside the mainstage offers. (It’s also because table service survives at many of Brisbane’s better haunts. C’mon, Sunshine Coast!). Woodward always assembles the best of the best, both onstage and off, which makes it easier to garner support for each new project, and also makes the next tickets on offer from this company, for next year’s production of Sweet Charity starring Naomi Price, a very attractive Christmas stocking filler indeed…

Dan Venz directs a fierce and fiercely talented, unafraid, flamboyant cast. Each is a bit of a star in their own right, and not a bit reticent about performing this style of comedy. There’s a great deal of the individual in each very personalised role. Let’s face it, we’ve never seen Santa’s Helpers quite like these! Unlike last year’s rough and ready reverie, this script was written by Emily Christopher and Matthew Semple. It’s super speedy, stupidly funny and yes, very naughty.

The role of Santa comes, of course, to Stephen Hirst, the host with the most…well, let’s just say he’s the most indecent Santa we’ve seen on local stages. Leading a completely politically incorrect, drug addled, intoxicated and very sexy band of elves, it’s no surprise to see an Austin Powers’ nude number eliciting raucous laughter, and equal measures of delight and dismay, when sight lines outside of the main seating bank offer sneaky peaks at a little more than the punters thought they’d paid to see, especially for those sitting in the right (or the wrong?) seats. Hirst is well known for his easy manner and wicked humour, his ability to take an audience along for the ride with a wink and a knowing grin; all qualities that serve him well here, lowering the tone a little nearer to bawdy, but lifting the standard of the show into the realm of Club Cumming, rather than just another cabaret show; yes, high praise indeed!

There was never any doubt that raunchy Aurélie Roque could steal the show, but she resists (that) temptation and plays nice – real nice – with performers and unsuspecting audience members. With powerhouse vocals and legs up to her ears, Roque leaves an indelible impression as always.

Emily Kristopher, having had two other productions in the Wonderland program, lets her hair and her guard down in this one. A substantial amount of the writing has got to be hers, such is the clever, concise dialogue, breathing space and overall pace. A versatile performer, her character is ridiculously cute, her comic timing is perfect and her voice is sublime. Sofie Christofis finds her place in this cast, establishing herself as the one to watch. I suspect she is to Understudy Productions what Stef Caccamo is to The Little Red Company.

Austin Cornish and Elliot Baker round out this devilishly talented cast. Cornish, given the opportunity to do so,dances rings around the other elves, and Baker relishes his comedic role as the newest elf on the shelf with a shameful secret and a crush on Christofis. Cornish and Baker are further testament – as if we needed any further evidence ever – that the Queensland Conservatorium Griffith University (i.e. the Con) is training our next generation of triple threat superstars. Watch out, WAAPA. It’s a delight to hear each sing up a storm, in between their riotous workshop antics, and at times combining these elements to deliver, for example (and possibly, for a verse and a chorus too long), the viral Lonely Island number about a particular appendage in a box. MD Tnee Dyer (keys), Chris Evans (drums) and Elliot Parker (bass) appear to have just as much fun as we do. New arrangements of the most popular Christmas songs become fabulously dirty ditties with new lyrics; singalongs that you might not want to be caught on camera singing along with!

Understudy Productions had already gone to some lengths to fill the gap in the market, a chasm in fact, left by Oscar Theatre Co – now Oscar Production Co. A Very Naughty Christmas is potentially a neverending year-round series, like enough Club Cumming or Jim Caruso’s Cast Party, starring new and old talent, featuring new and favourite sketches and songs, and satiating new and returning audiences, as long as they’re over the age of eighteen. It’s a no-brainer to bring this show back to Brisbane Powerhouse each year at Christmas time (and in July!). If you missed the last two versions, you don’t want to be left out of a third.

Jeff and Hunter, two struggling writers with nothing to lose, have decided to put everything on the line and create a show for New York Musical Theatre Festival. With the deadline for submissions a mere three weeks away, Jeff and Hunter decide to follow the old adage, “write what you know,” and set off on a unique musical adventure: writing a musical about writing a musical. With the help of their friends Susan, Heidi, and Larry on keys, they make a pact to write up until the festival’s deadline and dream about the show changing their lives.

[title of show] is one of the funniest productions to have been staged in Brisbane in a long time. I don’t know if this company saw Oscar Theatre Company’s production, directed by Emily Gilhome, in Brisbane in 2010 and Noosa in 2011 but this cast, directed by Ian Good, can hold their own.

Alexander Woodward’sUnderstudy Productions threw into the MELT Festival mix at Brisbane Powerhouse earlier this year an original cabaret (Boys of Sondheim), and now with Jeff Bowen and Hunter Bell’s [title of show] the company continues to provide professional work for local, Australian-based talent in another production that is LGBT and gender friendly. In the current political climate, a show about two gay guys writing a show about what matters to them and stuff that happens to them couldn’t be better placed.

Jackson McGovern plays an adorably goofy Hunter and Woodward is the perfect foil, an unassuming, charming Jeff. Together they go through the tumults of a working relationship and the closest kind of friendship, earning wide smiles, lots of laughter and our genuine affection.

Aurelie Roque is a wry, self-effacing Susan and Lauren McKenna a bold, bright and bubbly Heidi. Joel Curtis on keys is MD and an appropriately pacified Larry, and once again I feel like Larry should have more to say! Some of the best moments are in fact when the characters have nothing “scripted” to say. The girls soak up the spotlight during Secondary Characters during which they discuss what happens when the writers leave the room.

Die Vampire Die is still the best song of the show, possibly because it rings so true for artists, and Roque knows how to sell it. She easily elicits plenty of laughs and pathos within this number’s satisfying harmonies and hilarious lyrics. Curtis has ensured that each musical number is tight and while the pace lagged at times during the opening weekend, it will have picked up during the too-short season. It’s an exceptional cast; there’s no weak link and everyone has their turn to shine.

From Untitled Opening Number to Nine People’s Favorite Thing, this heartfelt, upbeat show is fun, irreverent and intelligent, and the perfect vehicle for these super talented triple threats. If you’re new to this musical, or to musicals in general, it’s likely you’ll miss some of the references to exisiting shows and Broadway stars, but that’s okay. While there’s nothing actually new happening here and the Hayward Street Studios’ space is a little unkind to such an intimate production, this [title of show] features five of our brightest. It’s highly entertaining and worth stealing a ticket to see tonight’s final performance; you’ll laugh out loud and leave grinning.

A chat with the cast of Understudy Productions’ [title of show]

Hayward Street Studios August 31 – September 10 2017

We haven’t seen anyone tackle the hilarious cult hit [title of show] since Oscar in 2010 so it’s about time we saw it again. Ahead of Understudy Productions’ season, which opens next week, we chatted with the company’s founder and AD Alexander Woodward, and let the other cast members chime in…

We love [title of show]! Can you talk about the creative process, from the idea to bring a humble YouTube-Broadway surprise smash hit to Brisbane, to your independent company securing the rights to the show, to finding space and casting incredible talent, and preparing to put on a show?

Alex: Directing is Ian Good, from the UK. We originally met when he came over while I was at the Con. He’s an outstanding director who’s fallen in love with the country and I trust him more than words can express. I’m a big believer that if i’ve put somebody in a position its for a reason, and after I’ve brought somebody in I just trust and believe in that persons judgement. This is the company’s third production and so far so good, so I’m going to stick with this attitude.

Rehearsals are amazing, better than could be expected. We’ve had such a quick process I thought it would be a scramble to the line but we are a week out and still have so much time to play so I’m beyond happy.

The process? Well I’m constantly on the search for theatre to put on. I heard about title while at uni and loved the concept; it’s such a theatre lovers’ show.

Putting on theatre is HARD. It’s expensive, and risky and really hard to get right, but I love doing it. Origin Theatrical are amazing and I love dealing with Kim there. She’s a theatre lover and is always so helpful getting us independents off and running.

Tell us about Understudy Productions.

So basically Understudy Productions was formed because I thought it was crazy that people thought they had to move cities in order to be involved in professional quality work. I also thought we have so much music theatre and acting talent coming out of Brisbane, let’s use it and create some shit hot theatre. There’s no reason Brisbane can’t have an independent theatre scene like what’s seen at the Hayes, or Chapel off Chapel.

Tell us about each cast member (or they can tell us about themselves!). What drew each of you to this show?

Alex: Jackson is a stupidly good actor. I remember being at uni and thinking, yeah, this guy is going places.

Jackson: Well it’s a bloody funny show, for a start. I didn’t actually know it before I started looking up stuff when I saw the audition brief for this production, but I remember listening to the soundtrack for the first time and laughing my tits off. It’s completely ridiculous, but has a real heart to it.

Lauren: My name is Lauren McKenna. I’m a Sydney based music theatre gal who has worked in Brisbane a lot in the past couple of years. I played the double of Martha/Ms. Fleming in the smash hit Heathers which played at QPAC and have been in Harvest Rain’s latest touring Arena productions of Hairspray (Tracy) and Grease (Jan). My nine favourite things are picnics, fresh flowers, tall humans, new stationary, sleep-ins, high belt, snail mail, edamame beans and salon manicures. I was drawn to this project because some friends told me I’d love [title of show]. They were right! Also, I have a massive crush on Brisbane so any excuse to work up here I jump at!

Joel: I’m Joel and I am the Musical Director and play Larry (the unfortunate forgotten pianist) in the show.

Will you tell us your real-life vampires?

Alex: Not being good enough, not getting work, letting people down from family to friends to ticket buyers. I always think its funny that performers are often highly strung/stressed/emotional types and here we get on stage and basically say, “Please like me, and please let me invoke some form of emotion on you”. Plus being poor…god, theatre makes you poor! Haha!

Joel: I’m terrified of not being good enough. That’s actually something that Jeff says in the number. One of these days someone is going to work out that I’m a fraud and I can’t do all the things that I’m employed to do/say I can do and then they’ll tell everyone and I’ll be fired, never work again, all my friends will hate me and I’ll end up penniless, lonely and miserable. Or something…

Will you share with us that show idea you’ve stashed in the bottom drawer?

Alex: Well, I’m pretty excited to putting on an Adults Only Christmas Show later this year at Brisbane Powerhouse. Every year of my adult life I’ve done “friends’ christmas” where we drink and dance, and be merry. I wanted to recreate that kind of idea for theatre. I think it sucks that the only option at Christmas is to go to church! I want to do the polar opposite of that.

Will you each share how you came to be a performer and what it is that keeps you in the industry?

Lauren: I’ve been doing musicals since I was 10 years old. There’s no other industry for me.

Jack: Storytelling is such a primal part of being human, and live theatre to me is one of the most rewarding ways of being part of that, either as a performer or audience member. Live theatre is different every time. I honestly can’t think of anything cooler than 5, 10, 200 or 1000 people going into a room together and having a storytelling experience that is completely unique to that group.

Alex: I used to play in bands and – long story short – went to visit my brother living in London, saw a show in the West End and went, “Wow, music theatre can be amazing,” and then knew I wanted to get involved. I came home and started doing courses and then I scored an amazing first gig with STC.

Joel: To be honest, I rarely perform anymore. I prefer my day job as a singing teacher, with the occasional MD gig.

Favourite / challenging / exciting roles thus far?

Alex: My first job ever was also the first thing I ever auditioned for. Spring Awakening with Sydney Theatre Company, it was like being thrown into a pool and it was sink or swim…. But I loved it. The most challenging role would have to have been Mickey in Blood Brothers, emotionally such a draining and in-depth role. You basically have to put yourself though a rollercoaster every show.

Lauren: Playing two characters in Heathers was incredible- an actors dream! Tracy Turnblad in Hairspray was so challenging stamina wise (especially in arena style) but ridiculously fun! Heidi in [title of show] is definitely up there with my favourites!

Roles you covet and would kill for?

Alex: Cliff in Cabaret, Evan Hansen in Dear Evan Hansen, Anything in Book of Mormon. Plus any role that has the power to invoke thought and change in people.

Other jobs? Your first job (perhaps it wasn’t in the performing arts industry)?

Alex: Professional Uber Driver and drink slinger.

What did mum and dad want you to do? What did teachers think you would do?

Alex: My parents are incredible and always encouraged me to do whatever I wanted. My mum has been working with the ABC for 30 years now, and my parents met while my mum did drama and Dad studied photography, so the arts was pretty much always engrained in them.

What else do you want to do?

Alex: I want to help create an independent theatre scene in Brisbane. I want there to be a Brisbane Hayes. There’s no reason why there shouldn’t be.

How does everyone keep fit and maintain healthy voices?

Alex: the show for me is a huge sing. Basically, 10 years of practice and semi-okay technique. (Still a long way to go!).

Why do we wanna’ see this show (again)?

Alex: Because it’s fun, it’s moving, and it speaks to everyone who’s ever been involved in performing. It’s just very music theatre.

Jack: [title of show] speaks to anyone with even the tiniest creative bone in their body. Rehearsing this has been an experience in uncovering relatable quality after relatable quality within all four of these beautiful, twisted, genius characters. Whether you are a musical theatre fan, a theatre fan, or you’ve never even stepped foot in a theatre, you will love it as much for its relatable charm as its ridiculous comedy.

Lauren: Because it’s awesome and I have to take my top off for the first time onstage… so you don’t wanna miss that!

What’s next?

Alex: After this I go full steam into producing A Very Adult Christmas…

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